Articles liés à Recognizing Music as an Art Form

Recognizing Music as an Art Form - Couverture rigide

Titus, Barbara

 
9789462700550: Recognizing Music as an Art Form
Couverture rigide
ISBN 10 : 9462700559 ISBN 13 : 9789462700550
Editeur : Leuven University Press, 2016

Synopsis

The impact of Hegelian philosophy on 19th-century music criticism Music’s status as an art form was distrusted in the context of German idealist philosophy which exerted an unparalleled influence on the entire nineteenth century. Hegel insisted that the content of a work of art should be grasped in concepts in order to establish its spiritual substantiality (Geistigkeit), and that no object, word or image could accurately represent the content and meaning of a musical work. In the mid-nineteenth century, Friedrich Theodor Vischer and other Hegelian aestheticians kept insisting on art's conceptual clarity, but they adapted the aesthetic system on which this requirement had been based. Their adaptations turned out to be decisive for the development of music criticism, to such an extent that music critics used them to point out musical content and to confirm music’s autonomy as an art form. This book unravels the network of music critics and philosophers, including not only Hegel but also Franz Liszt, Franz Brendel, and Eduard Hanslick, whose works shaped public opinions of music.

Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.

À propos de l'auteur

Barbara Titus is associate professor of Musicology at the University of Amsterdam.

À propos de la quatrième de couverture

The impact of Hegelian philosophy on 19th-century music criticism Music’s status as an art form was distrusted in the context of German idealist philosophy which exerted an unparalleled influence on the entire nineteenth century. Hegel insisted that the content of a work of art should be grasped in concepts in order to establish its spiritual substantiality (Geistigkeit), and that no object, word or image could accurately represent the content and meaning of a musical work. In the mid-nineteenth century, Friedrich Theodor Vischer and other Hegelian aestheticians kept insisting on art's conceptual clarity, but they adapted the aesthetic system on which this requirement had been based. Their adaptations turned out to be decisive for the development of music criticism, to such an extent that music critics used them to point out musical content and to confirm music’s autonomy as an art form. This book unravels the network of music critics and philosophers, including not only Hegel but also Franz Liszt, Franz Brendel, and Eduard Hanslick, whose works shaped public opinions of music.

Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.

Éditeur
Leuven University Press
Date d'édition
2016
Langue
anglais
ISBN 10 
9462700559
ISBN 13 
9789462700550
Reliure
Relié
Nombre de pages
270
Coordonnées du fabricant
Buchpark GmbH
https://www.buchpark.de

Krügerweg 1
Trebbin
Brandenburg
14959
Allemagne